Montresor tells the story of the night that he took his revenge on Fortunato, a fellow nobleman. Angry over some unspecified insult, he plots to murder his friend during Carnival when the man is drunk, dizzy, and wearing a jester's motley.
He baits Fortunato by telling him he has obtained what he believes to be a pipe (about 130 gallons) of Amontillado, a rare and valuable sherry wine. He claims he wants his friend's expert opinion on the subject. Fortunato goes with Montresor to the wine cellars of the latter's palazzo, where they wander in the catacombs. Montresor offers De Grave, a wine, to Fortunato; at one point, Fortunato makes an elaborate and—to the narrator's eyes—grotesque gesture with an upraised wine bottle. When Montresor appears not to recognize the gesture, Fortunato asks, "You are not of the masons?" Montresor says he is, and when Fortunato, disbelieving, requests a sign, Montresor displays a trowel he had been hiding.
Montresor warns Fortunato, who has a bad cough, of the damp, and suggests they go back; Fortunato insists on continuing, claiming that "[he] shall not die of a cough." During their walk, Montresor mentions his family coat of arms: a foot in a blue background crushing a snake whose fangs are embedded in the foot's heel, with the motto Nemo me impune lacessit (No one attacks me with impunity). When they come to a niche, Montresor tells his victim that the Amontillado is within. Fortunato enters and, drunk and unsuspecting, does not resist as Montresor quickly chains him to the wall. Montresor then declares that, since Fortunato won't go back, he must "positively leave [him]."
Montresor walls up the niche, entombing his friend alive. At first, Fortunato, who recovers from his drunken state faster than Montresor anticipated he would, shakes the chains, trying to escape. The narrator stops working for a while so he can enjoy the sound. Fortunato then screams for help, but Montresor mocks his cries, knowing nobody can hear them. Fortunato laughs weakly and tries to pretend that he is the subject of a joke and that people will be waiting for him (including the Lady Fortunato). As the murderer finishes the topmost row of stones, Fortunato wails "For the love of God, Montresor!" Montresor replies, "Yes, for the love of God!" He listens for a reply but hears only the jester's bells ringing. Before placing the last stone, he drops a burning torch through the gap. He claims that he feels sick at heart, but dismisses this reaction as an effect of the dampness of the catacombs.
In the last few sentences, Montresor reveals that it has been 50 years since the murder, he has never been caught, and Fortunato's body still hangs from its chains in the niche where he left it. The murderer, seemingly unrepentant, ends the story by remarking: In pace requiescat (may he rest in peace).
Edgar Allan Poe (January 19, 1809 – October 7, 1849) was an American writer, poet, editor and literary critic, considered part of the American Romantic Movement. Best known for his tales of mystery and the macabre, Poe was one of the earliest American practitioners of the short story and is considered the inventor of the detective-fiction genre. He is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career.
He was born as Edgar Poe in Boston, Massachusetts; he was orphaned young when his mother died shortly after his father abandoned the family. Poe was taken in by John and Frances Allan, of Richmond, Virginia, but they never formally adopted him. He attended the University of Virginia for one semester but left due to lack of money. After enlisting in the Army and later failing as an officer's cadet at West Point, Poe parted ways with the Allans. Poe's publishing career began humbly, with an anonymous collection of poems, Tamerlane and Other Poems (1827), credited only to "a Bostonian".
Poe switched his focus to prose and spent the next several years working for literary journals and periodicals, becoming known for his own style of literary criticism. His work forced him to move between several cities, including Baltimore, Philadelphia, and New York City. In Baltimore in 1835, he married Virginia Clemm, his 13-year-old cousin. In January 1845, Poe published his poem "The Raven" to instant success. His wife died of tuberculosis two years later. He began planning to produce his own journal, The Penn (later renamed The Stylus), though he died before it could be produced. On October 7, 1849, at age 40, Poe died in Baltimore; the cause of his death is unknown and has been variously attributed to alcohol, brain congestion, cholera, drugs, heart disease, rabies, suicide, tuberculosis, and other agents.
Poe and his works influenced literature in the United States and around the world, as well as in specialized fields, such as cosmology and cryptography. Poe and his work appear throughout popular culture in literature, music, films, and television. A number of his homes are dedicated museums today.
I think the most horrible feature of the story is the mental activity of the murderer Montresor, including his motive and plot for killing. As the saying from Nietzsche goes: “When you look long into an abyss, the abyss looks into you.” Poe has subtly set...
评分I think the most horrible feature of the story is the mental activity of the murderer Montresor, including his motive and plot for killing. As the saying from Nietzsche goes: “When you look long into an abyss, the abyss looks into you.” Poe has subtly set...
评分I think the most horrible feature of the story is the mental activity of the murderer Montresor, including his motive and plot for killing. As the saying from Nietzsche goes: “When you look long into an abyss, the abyss looks into you.” Poe has subtly set...
评分I think the most horrible feature of the story is the mental activity of the murderer Montresor, including his motive and plot for killing. As the saying from Nietzsche goes: “When you look long into an abyss, the abyss looks into you.” Poe has subtly set...
评分I think the most horrible feature of the story is the mental activity of the murderer Montresor, including his motive and plot for killing. As the saying from Nietzsche goes: “When you look long into an abyss, the abyss looks into you.” Poe has subtly set...
读完这本书,脑海里挥之不去的是那种纯粹的、未被稀释的恶意。它不像许多哥特式恐怖那样依赖超自然力量,它的恐怖完全根植于人性的黑暗面——一种清醒的、有逻辑的、甚至可以说是“理智的”残忍。这使得它比那些依赖鬼怪的故事更具穿透力和现实警示意义。它仿佛在提醒我们,真正的魔鬼可能穿着最得体的服装,用最优雅的语言,敬着最醇美的琼浆。那种对复仇的偏执,已经超越了情绪宣泄,变成了一种近乎艺术创作的投入。故事的结尾,那种戛然而止的、权力完全易手的瞬间,带来的冲击力是巨大的,它留给读者的空间不是惊恐,而是对“何为人性”的深刻反思。
评分这是一次对人性深处阴影的极致探索,那种复仇的动机,说来荒谬,却又在某些特定情境下显得无比真实和具有煽动性。作者巧妙地利用了文化符号——比如那标志性的饮品和节日气氛——来反衬内心深处的残酷。它探讨的远不止是简单的“以牙还牙”,更深层次地触及了身份认同的危机和被冒犯后的尊严救赎(尽管是以一种极端扭曲的方式)。你会不断地追问:究竟是什么样的侮辱,能够催生出如此精妙而冷酷的计划?角色的对白设计极为精妙,充满了双关和潜台词,每一次看似随意的交谈,都暗藏着致命的机关。我尤其欣赏作者对环境氛围的渲染,那地下深处的幽闭感、酒窖的冰冷与外部世界的喧嚣形成了鲜明的对比,这种空间上的隔离,完美映衬了受害者在社交场域中的彻底孤立。
评分这部作品的叙事节奏简直让人窒息,从一开始那种不动声色的阴谋酝酿,到最后高潮部分的爆发,作者对张力的掌控堪称教科书级别。你仿佛能闻到空气中弥漫的潮湿和腐朽的气息,每一个字眼都在为你构建一个密不透风的陷阱。主角那种近乎病态的执着和对“公道”的扭曲理解,让人不寒而栗。他精心挑选的每一个词语,每一次邀请,都像引线一样精确地牵动着受害者的命运。读者被裹挟其中,明知前方是万丈深渊,却又忍不住想看他如何一步步走向那深不可测的黑暗。作者没有用大张旗别的血腥场面来渲染恐怖,而是专注于心理层面的渗透,这种克制反而将恐惧放大到了极致。那种潜藏在礼仪、美酒和狂欢表象下的恶意,比任何尖叫都来得更让人心悸。读完后,你会需要很长时间来整理自己的呼吸,并重新审视那些看似友好的人际交往。
评分从文学技法的角度来看,这部作品的结构堪称艺术品。它短小精悍,却蕴含着巨大的信息密度。叙述者独特的视角,使得整个故事带上了一层强烈的个人主观色彩,读者必须时刻警惕叙述的可靠性。这种不可靠的叙述者本身就构成了一种张力来源,让我们在欣赏其布局之精巧的同时,又对故事的“真相”保持着审慎的怀疑。作者对细节的捕捉达到了令人发指的程度,每一个微小的道具、每一次声音的描述,都服务于最终的布局。它不是那种需要大部头来铺陈的史诗,而是一次精准而致命的“手术刀”,直插主题的核心。阅读体验是高度集中的,几乎没有冗余的描写,一切都指向那个无法挽回的终点。
评分这部作品的语言风格令人着迷,它混合了一种古典的、近乎巴洛克式的华丽辞藻,与最原始的、对毁灭的渴望交织在一起。这种文体的反差感,成功地提升了整个故事的格调,让原本可能沦为简单悬疑或血腥故事,升华为一种对人性悖论的讽刺寓言。我特别欣赏那种文学上的“节制”,作者并未过多渲染受害者的挣扎,而是将重点放在了复仇者那近乎冷静的自我辩护上。这种冷峻的笔触,迫使读者跳出简单的道德审判,去审视驱动行为背后的复杂心理机制。它像一杯被精心调配的毒酒,入口是醇香,回味却是无尽的寒意和对文明外衣下野蛮的洞察。
评分铺垫手法赞一个!
评分因酒丧命
评分又读了一遍~依旧毛骨悚然哈哈
评分又读了一遍~依旧毛骨悚然哈哈
评分我觉得好妙,尤其是这位主人公一边把人往死路上领一边温和说my friend,妙,仿佛我自己就在用一个阴谋杀一个人似的
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